A lot, right. At the beggining I did that, yeah. But I can switch tracks very fast, like after 30 seconds. Especially if I’m drunk. Then it’s like: ”[Singing a song very fast] Next [Singing a new song even faster] Next.” – Luciano Oliveira
On the stage you’re (L) is behind the midi controller and you’re (J) is behind the computer. How did you come up with that set?
J: He plays the synth, the bass and I control the drums. And he do the mixing as well.
L: That’s just how we started out playing at home. And It was like ”yeah this could work on the dancefloor”, but in the beginning it was like I was begging people ”I can play, I’ll do it for free”. We had to strike it with an blog before that so they would book us. Before that I couldn’t get anywhere to play. It’s weird.
What components do you need to get the most fantastic gig?
J: People dancing, having fun and connecting with us. Reacting! Not just like hanging around.
L: You know I can just be staring at my laptop during the whole concert, but you kind of feel what’s going on around you. Even if it’s like just faint shouting, it gets you going, you begin to feel more comfortable in the decisions you make during the set cause we improvise a lot. Choosing a lot of the tracks in the flight and if you do that with a certain confidence it creates a better flow in the set.
J: Otherwise it’s kind of Jom. You keep trying to please the crowd and it’s like it doesn’t work.
L: If you see me turning one track down and another one up, just like that. It just means that I’m trying two different things. Cause if there’s a flow I can make a pretty good transition on it.
Do you count on how many tracks you play each night? You like do marks on a paper?
L: A lot, right. At the beggining I did that, yeah. But I can switch tracks very fast, like after 30 seconds.
J: You did that a lot today.
L: Especially if I’m drunk. Then it’s like: ”[Singing a song very fast] Next [Singing a new song even faster] Next.”
What is the best? To please a crowd or complete a track in the studio?
J: Both. It’s so different.
L: I guess when you’re in the studio it’s more of a private thing and yeah, I would say getting a gould vibe of a crowd. Because it’s so infectious you know. It’s the whole crowd thing. You cant’ do that in the studio. But usually what happens is this even though you think it’s great, you sleep on it and the next day you don’t think it’s that good anymore. It’s how it works.
So, you’ve been remixing a lot. But you’ve been producing originals as well. What’s the main difference between remixing and producing on your own?
L: The remixing is much easier, that’s the fun part. The own producing is the work part, cause you suffer a lot. It makes you very exposed – you do the vocals and stuff and you get very attached to the songs. That’s why we only have to. Hopefully there will be more.
J: Maybe in 2012.
What do you look for when you’re choosing what to remix?
L: Good vocals. Because that’s usually what we use. Some people taking the whole songs, or like the basses and stuff. But we just dump it and just take the vocals. Pretty much it. Unfortunately not all of the artists that we like are searching for remixers. We listen to a lot of indie rock and indie folk. I was begging Beach House, but I don’t think that will never happen.
J: I don’t even know if they replied.
Two Doors Cinema Club – Something Good Can Work (THE TWELVES remix)
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Etiketter: The Twelves
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